Supporting the Arts in Western Massachusetts and Beyond

August 30, 2008

"Eleanor: Her Secret Journey"

Berkshire Theatre, Stockbridge>
through November 9
By K. J. Rogowski

Berkshire Theatre Festival's production of "Eleanor: Her Secret Journey" is a one woman show of power, passion and change, that documents her reflections on the early years with yet to be president, Franklin. Equally important is a look at her personal observations on both world and intimate personal events that were to shape her future from 1945 on.

Elizabeth Norment's skill as an actor captures the panorama of that world stage as she plays Eleanor, Franklin, and a cast of others notables, as they discuss, debate and sort out the morals, mania and politics of world powers and family domination. Here, she faces the challenges of dealing with an unfaithful husband, a manipulative mother-in-law, the senseless inhumanity of man at war, and the strange, seductive power that each possesses. Through her journey, Eleanor strips away the grandeur and the public face of war, and those who manipulate that machine, and shows, instead, the back story, the human frailty that actually drives world events. She humanizes the inhumane, and reduces it to its most basic components. She reveals the personal quirks and idiosyncrasies of the great and near great, and casts a light on the personal toll of being a public figure, that the public sometimes thinks it owns.

Norment does all this with humor, passion and vulnerability, that make the view into the lives of these very public figures a true journey of little-known human struggles. Stephen Temperley's direction keeps the action smooth, uncomplicated, and focused on the message, as does the simple, yet elegant, set design. The use of lighting shifts and occasional sound effects to set the tone and to punctuate the changing emotions of Eleanor's pilgrimage are also nicely played. For an evening of drama, humor and humanity, Eleanor's journey is well worth the trip.

August 28, 2008

Toby Lightman & Marc Cohn

Colonial Theater, Pittsfield
August 28, 2008
by Eric Sutter

Sometimes a reviewer gets lucky to hear two phenomenal aritsts on the same bill. Such was the case with the performance by acoustic guitarist Toby Lightman and singer/songwriter Marc Cohn at the Colonial Theater. Lightman shined as she played her acoustic guitar and sang a short set of original relationship songs with a gutsy delivery. The songs "Fair Weather Boyfriend" and "Milk and Honey" expressed different emotions from opposite viewpoints. She covered Carole King's "I Feel the Earth Move" with uncanny perception of the original. She closed with her upbeat sing-a-long "Love is All Around," while the audience joined in on the chorus.

Singer/songwriter extraodinaire Marc Cohn appeared with his band and showed why he was chosen Best New Artist of 1991 when he debuted. Proficient on piano and guitar, he began this evening on piano with "Live Out the String," which is a song he wrote after being caught in the crossfire of a stray bullet. He lived and sang with a deep abiding joy from the vestige of his ordeal. His excellent CD from 2007, "Join the Parade," is his testimony. He performed other notable songs from the CD such as "The Calling (Charlie Christian Tune) and the tribute to the New Orleans Katrina disaster, "Dance Back From the Grave." "Listening to Levon" was his ode to young love in his father's blue Valiant that name dropped songs from Levon Helm and the Band. His voice was very soulful on "Lay Your Healing Hands on Me." He told a story of a chance encounter with a 70-year-old black pianist/singer named Muriel Davis Wilkins who inspired the song that launched his career -- Walking in Memphis" was staged with gospel fervor by Cohn and bandmates and dedicated to Wilkins. Cohn's lead guitarist Shane Fontayne tingled the audience's senses with his solos as Cohn emptied his heart and soul in voice.

"Miles Away" was a vexed mid-tempo rocker that featured Shane Fontayne's ringing acoustic guitar and wailed harmonica playing. Cohn offered a nice piano ballad in "Silver Thunderbird" and countered with a rockin' "Let Me Be Your Witness." By this time he gave his audience a gift of two encores, ending with "True Companion," which received a standing ovation. A true talent with words of wisdom, Cohn gave it his all to a very appreciative audience.

August 25, 2008

Noel Coward in Two Keys

Berkshire Theatre, Stockbridge
through August 31
By Shera Cohen

Long before “Private Lives” and “Blithe Spirit” Noel Coward wrote two one-act plays which very few people have ever heard of, let alone seen. Berkshire Theatre mounted these together as their mainstage final play of the season. A substitute for the previously scheduled “Who’s Afraid of Virginia Woolf,” this reviewer had low expectations. Coward’s pithy British wit could not compare with the drama with a capital “D” of “Woolf.” Having experienced the plays, however, the comparison was as unfair as the proverbial apples and oranges. This was, surprisingly, an entertaining evening of theatre.

The concept of the plays was unique as common denominators linked the two; i.e. the same actors, setting, director, and stage crew. It’s an audience’s dream come true – to see three actors portray completely different characters in back-to-back plays with only a 15-minute intermission in the middle. Since play #1 was a comedy and #2 was a drama (yes, Coward wrote something serious), the actors were forced to use opposite sides of their brains, so to speak, in developing their roles. This was, assuredly, not an easy task, even for the best of thespians.

Maureen Anderman essentially played the same character. The actress would have shined in Coward’s later plays (a perfect Elvira in “Blithe Spirit,” for example), but was a bit too affected in these one-acts. Casey Biggs (the husband in each scenario) was type-cast as an unhappy, quick to cheat man which he took on with workmanlike skill. His challenge was in play #2 as a man with a title, fame, and a secret – this he did quite well, as the audience saw his pain and bravado. Mia Dillon created a loud rich American visiting Europe and later a demure and smart post-World War II escapee. Dillon was extremely talented in both roles – first an in-your-face boar, and second a stand-by-your-man lovely lady. Of the three actors, her roles called for the broadest stretch and Dillon was keenly able.

August 24, 2008

Goatwoman of Corvis County

Shakespeare & Co., Lenox
through August 31
By Shera Cohen

It’s not every day that an audience member has the opportunity to see the world premiere of a play which is also the first play in a new venue. This was the case with “The Goatwoman of Corvis County” at Shakespeare & Company’s Bernstein Theatre.

This play, which was one of the semi-staged readings at the end of Shakes & Co.’s last season, was brought to life as a full-blown production. [September 1st marks the full-day of this year’s readings.]

“Goatwoman” has a strange title, indeed. Its characters and plot are equally as strange and quirky. Charlotte, a healer of goats, is a five-time married woman who has huge difficulties healing her own life. Keira Naughton commands the stage in nearly every scene. This young actress, who also starred this season at Berkshire Theatre Festival’s “The Book Club,” is both strong and subtle in her performances. Charlotte is a mentally sick woman, and Naughton portrays her perfectly – as if we (the audience) are eavesdropping into her life.

Charlotte’s husband is a brute with a low IQ, yet he is smart enough to know that his wife could get him into trouble. Thomas Kee nicely creates a wise-guy Randy who no one would possibly like, let alone love. David Rosenblatt (Charlotte’s son) and Daniel Berger-Jones (an attorney) don’t have a lot to do, but are effective as foils in fleshing out the characters of Charlotte and Randy.

Kudos to set designer Susan Zeeman Rogers, who brought the audience immediately into the story. Through smells and sounds, even from the lobby and rounding the corner into the theatre, it was obvious to theatre-goers that every detail had been attended to. The working kitchen, garage, patio, and secret room clearly defined the parameters of the story and its characters. Seamlessly segued in were many flashbacks arranged by director Robert Walsh.

The playwright, Christine Whitley, attended the performance. She is so young, and she is so talented. Watch for her name in the future.

August 23, 2008

Trey McIntrye Project

Jacob's Pillow, Becket
August 23
by Colleen Moynihan


What makes an artistic endeavor great, enjoyable or memorable? In dance is it the choreography, the personality of the dancers, the marriage of music, form and energy? Jacob's Pillow ended its 2008 season with a new dance ensemble, the Trey McIntrye Project, that absolutely delighted the audience on every level.

Artistic director/choreographer McIntrye has been recognized as an innovative choreographer since 1989. His troupe combines the discipline of classical ballet and the energy of modern dance.

The program opened with a quiet, tender piece, "Surrender," a world premiere. The dancers captured the audience with an engaging interpretation of 60's music by Carole King and John Lennon interspersed with Tschaikovsky's "Dance of the Mirlitons". It was easy to follow, pleasant to view; athletic but simple.

Another premiere, "Leatherwing Bat," featured John Michael Schert, the image of American youth. His ability to move in space around the other dancers while containing himself without any rigidity was compelling to watch and added depth to the story.

The unique style of the Project lies in its use of intricate interlocking body movements that lead to subtle interpretations of space -- vertical, horizontal or within the personal realm of self. Their closing piece demonstrated this skill by seamlessly combining the elements of classical ballet and modern dance. Four women were on point; four men executed their roles in vibrant modern dance tradition. The result was a mix of physical dynamism and restraint that was elegant, energetic, playful and sensuous. Dvorak's "Serenade in E, Op22" sounded ever so sublime augmented by the visual interpretation of the dancers, also providing a rollicking background to the ensemble's effective play on form through body movement and varying spatial effects.

The troupe's strength is in its modern dance elements: athletic energy and control. The classical ballet movements are safe and correct but lack the stretch, height or stamina associated with electrifying ballet. McIntrye's integration of the two dance forms increases the interpretation opportunities and delights the viewer with the results.

August 16, 2008

Tilted House

Chester Theatre Company
Chester MA
Now through August 24, 2008
August 14, 2008
By Donna Bailey-Thompson

Chester Theatre Company’s problem is one any acting troupe would welcome: regardless of a script’s popularity, their productions are noted for being interesting, indeed, provocative. Again, for their 2008 season, Chester has presented four disparate plays which have elicited reactions ranging from high praise to "Oh, please." The season’s finale, the world premiere of Tilted House by Susan Eve Haar, falls somewhere in between.

Not that Tilted House is a so-so play. The story line is there. The editor husband (Victor Slezak) has invited his wife’s old love, a successful novelist (Michael Milligan) to their summer seaside retreat which confuses the banked ennui in the restless wife (Ylfa Edelstein), mother of Henry (Alex Slezak, making his theatrical debut weeks before entering first grade). These are attractive people who, with the exception of Henry, are rife with nefarious goals, nagging doubts and occasional insights: "I should never marry a man who hates his mother." During an emotional meltdown, the wife begs her husband, "Reach for me, even if you don’t love me," only to have him say, "I can’t," which may be his way of saying, "I won’t."

If ever a play has potential, it’s Tilted House. There are sustained moments that pull the audience into the play but then, suddenly, there’s a glitch that breaks the bond: a succession of scene changes contributes to a choppiness; a few scenes take more time to set up and tear down than they do to play. The audience scrambles to find an opportunity to renew the caring they developed for the characters. These interruptions in the flow beg the question: Is it possible to reduce the number of scene changes, perhaps by spotlighting the actors, and so keep the story moving forward?

Against an idyllic background of sand, beach grass, ocean, blue sky, fair weather clouds and the screech of gulls, the characters cope, and sometimes toy, with the strain of resolving the messy issues perpetuated within a triangle of bruised egos. In sharp contrast is the sweet innocence of the boy. He does not deserve to live in a tilted house.

August 11, 2008

Not Waving

Williamstown Theatre Festival
through Aug. 17
By Bernadette Johnson

An afternoon at Williamstown Theatre Festival might be your safest bet these days for a storm-free day at the beach. But don’t be too sure. While there are only light, wispy clouds on the horizon, there are definitely storms brewing in Ellen Melaver’s “Not Waving.”

Melaver gives the audience permission to eavesdrop on three separate couples who stake out their claims for an afternoon on a stretch of beach near where a man has recently drowned. David Korins’ beach is definitely inviting with its dunes and driftwood, sea grasses and gently sloping sandy surfside expanse. An empty lifeguard stand adds an ominous note. There was no lifeguard on duty the day of the drowning.

The three couples as settle in: Matt and Lizzie (Nate Corddry and Maria Dizzia), a young married couple determined to relax (“We agreed on fun”); Patsy and Peter (Harriet Harris and Dashiell Eaves), a mother and her 32-year-old son seeking quality time together (at least she is); and Bo and Cara (Will Rogers and Sarah Steele), teenagers out for a fun day at the beach (Bo less enthusiastic than Cara, who has a subtler plan). The roles are well cast, each player contributing substantially to the unfolding drama.

It is as if the waves wash away all pretense, and layer by layer, we discover the issues that lie just beneath the surface. Secrets are revealed, emotions laid bare. Harris and Eaves play out the friction between mother and son, which is apparent and harmless enough from the outset then deepens. He eventually reveals that he finds her snobbish and she that she finds him forbidding and intimidating.

And from his “I’m bored” (minutes into their arrival) to his frantic attempt to build a gigantic skate park, Rogers captures the restlessness of one who isn’t quite thrilled with being at the beach.

There is very little interacting among the couples. Plot lines are not interwoven. These could easily be three separate vignettes if it were not for the underlying theme, three couples dealing with life situations, “the waves that knock you down.”

Les Miserables -Youth

Exit 7 Players, Ludlow
through August 17, 2008
August 8, 2009
By Donna Bailey-Thompson

The tension of social unrest – generations of injustice that led to France proclaiming a Second Republic – and the individuals caught up in its life-changing drama, are knocking the socks off audiences as performed at a professional level by dedicated amateur actors ranging in age from five to eighteen. In this abridged version of the blockbuster musical, "Les Miserables," the integrity of Victor Hugo’s classic novel is honored and in many respects intensified by the awe-inspiring performances of 47 young people.

Based upon the high quality of Exit 7 Players’ productions, the professionalism of their "Les Mis" should not be surprising, but, it is. To inspire such outstanding performances is a testament to Director/Choreographer Jenn Bauduccio’s skill and the cast’s trust in her guidance..

Exit 7's "Les Miserables" Special School Edition is an outstanding theatrical experience. As the dying Fantine, Monica Giordano’s solo is heartbreaking. Other emotional peaks are attained by Michelle Waslick, age 9 (Gavroche); Tray K. Sanders, age 13 (Enjalras); Sarah Banning, age 15 (Eponine) whose "On My Own" breaks more hearts. The amoral Thenardiers – Lisa Rizza, about to become a college freshman and Colby Herchel with three years acting experience – offer lively, humorous nastiness. Star-crossed lovers Cosette (Katie Stiefel) and Sam Plotkin (Marius, age 16) pour out their longing for one another.

The determination of Jean Valjean (Gavin Mackie, high school senior) to become an honest man and the doggedness of the sadistic law enforcer Javert (Michael Piels who enrolls in NYU this coming semester) to destroy Valjean, infuse their scenes, singly and together, with raw energy. Their duets stir and alarm. Musical Director Devon Louise Bakum has infected the young cast with a desire to excel. The songs are not easy to sing, yet the chorus and soloists deliver with ease and conviction. The costumers – Bauduccio, Mary Hernandez, Sherri Montagna, Lori Rodriguez, Cheryl Chant – incorporated authenticity into their creations. The imaginative minimal sets are the handiwork of master carpenters Paul Hamel and Tom Marshall Jr.

Unsung are the parents and families of the cast who juggled their other responsibilities to support their cast member’s ambitions. Before the auditions, Exit 7 spent years planning and negotiating. And now, Bravo!

Wishful Drinking

Hartford Stage
through Aug. 17
By Bernadette Johnson

Carrie Fisher reels in her audience hook, line and zinger. What an entrance. To a star-studded backdrop a la “Star Wars”, Fisher showers the audience with handfuls of glitter as she belts out “Happy Days are Here Again” (yes, she can sing too) while fake tabloid headlines from the lives of her famous Hollywood icon parents, Eddie Fisher and Debbie Reynolds, the not so happy days, stream behind her. Then comes the standard AA introduction “…and I’m an alcoholic.”

The audience feels almost guilty laughing as Fisher recounts the ordeal of waking up next to a corpse, her “gay, Republican drug-addict” friend who died in her bed. “Republicans contributed to his death,” she assures us and thus sets the no-holds-barred tone for the evening. Everyone and everything is fair game for her hilarious anecdotes, from her matinee idol parents, to George Lucas and his wardrobe theory (“There is no underwear in space”), to her famous Princess Leia honey-bun hair, to her first husband, Paul Simon, and finally to her own mental illness, drug dependency and ill-fated romances. Not even her “blue blood, white trash” Texan grandmother is immune.

Fisher, dressed mainly in black with a slight wardrobe variation in Act 2, paces the stage, frenetically at times, smokes clove cigarettes and constantly interacts with the audience, particularly patrons in front-row seats. She is the quintessential story teller and stand-up comic. A hilarious first act “Are they related?” segment titled “Hollywood Inbreeding 101” takes the form of a CSI-style photo board/flow chart of the generations, tracing Debbie’s and Eddie’s descendents through their marriage, breakup, subsequent marriages (multiple), their exes’ subsequent marriages and so forth.

For those in the audience who fall in Fisher’s generation, “Wishful Drinking” is a trip down Memory Lane, tabloid sensationalism plus all the juicy details, the inside scoop. Fisher‘s formula for comedy is “tragedy plus time.” She doesn’t lay blame, doesn’t offer excuses for herself or others, doesn’t provide any psychological insight. It is what it is. The “funny slant” is her key to survival. It’s not surprising that among her “Special Thanks” in the program she includes “all 12 of my shrinks.”

August 10, 2008

Ben Davis – “Spamalot’s” Sir Galahad – speaks about hair & other issues


One of the featured actors in the Bushnell’s “Spamalot” (starts September 4) is Ben Davis. He’s young, talented, and already a Broadway star. In multi-roles, including the Black Knight and Prince Herbert’s dad, Davis’ primary role is Sir Dennis Galahad. [Bet you didn’t know that he had a first name.] The following is a paraphrased interview with Davis.

How does Monty Python influence you, the play, and the audience?

I wasn’t bathed in Monty Python when I auditioned. The actors and the audience don’t have to be. The musical was produced brilliantly to appeal to Python fans in particular, but more importantly, to fans of all musicals. There are some scenes straight out of “The Holy Grail,” several of its characters, and sometimes people in the house quote lines right along with the actors. Do you have to be a lover of MP to love “Spamalot”? Absolutely not.

It seems as if the performers are having as much fun onstage as the playgoers.

We are, at every show, in every city. We have a great time, and if you can’t have fun doing this show, then you’re in the wrong business. We don’t do the play by rote. Each audience is different and we feed off and respond to them. They are all ages, and everyone laughs. Although we are professionals, cracking up onstage is not unusual. “Spamalot” is on the edge, it’s purposely outrageous and the audience knows it; they expect the unexpected and that’s what adds to the humor.

You’ve starred in dark dramas (“La Boheme” and “Les Miz”) and fluff. What is your background?

I started as a singer, then became an actor, so now I’m 50% each. I’ve been incredibly blessed. I’ve worked fairly consistently. Baz Luhrmann’s “La Boheme” was amazing. He directed the movie “Moulin Rouge.” I’ve also been in Kenneth Branagh’s “The Magic Flute.” I love opera and would like to perform more some day. Javert in “Les Miz” on Broadway was something I’m very proud of. Then, there’s “Spamalot,” and the enjoyment of performing comedy is equal to that of drama.

What’s in your future?

I’ve been in “Spamalot” one year now. Theatre is exciting and you don’t know what the next jobs will be. For the long run, I’d hope for health and happiness. In the immediate future, I’d hope that the safety pins continue to hold my very long Sir Galahad wig in place. It’s fun doing the hair flips.

August 8, 2008

“Half a Sixpence”

Goodspeed Opera House, East Haddam, Conn.
Through Sept. 19, 2008
by Bernadette Johnson

Goodspeed patrons have come to expect nothing but high quality musical productions. As usual, “Half a Sixpence” fits the bill. A musical comedy extravaganza directed by Gordon Greenberg, a rags to riches and back to rags tale, it provides the kind of feel-good entertainment for which Goodspeed is famous.

Based on the 1905 HG Wells novel “Kipps,” “Half a Sixpence” follows the adventures and misadventures of Arthur Kipps, a shop clerk in an English seaside town who suddenly inherits a fortune and leaves all behind in order to claim his place among the “la-di-dah” gentry and make a mess of his life in the process. Among the “discards” is Ann, his lifelong sweetheart, who holds the token of his love, half a sixpence.

Jon Peterson, a newcomer to Goodspeed, is first-rate in the demanding role of Arthur Kipps. Peterson is never off-stage and never out of the spotlight, whether acting, singing, dancing or cavorting. His thick Cockney accent, a bit difficult to adjust to at first, complements his quirky personality, and his societal faux-pas and often-exaggerated silliness, demand terrific energy and conviction to keep the character believable. But this is not a one-man show, and there are many stand-outs among the cast, among them Jeff Skowron as the aspiring playwright Chitterlow, whose every entrance provokes an audience reaction, and Sara Gettelfinger, whose vivacious yet demure disposition well suits the jilted Ann.

The show is fast-paced and high-spirited. Choreographer Patti Colombo, who wowed Goodspeed audiences with 2005s “Seven Brides for Seven Brothers,” has outdone herself once again. From banjos to beer steins to umbrellas, sights and syncopation keep frenetic pace with the relentless momentum of such numbers as “Money to Burn” and “Flash Bang Wallop,” and this amazing ensemble doesn’t miss a step.

Scene changes are so seamless and free-flowing as to be imperceptible. Robert Bissinger’s backdrops materialize out of nowhere, either gliding up from the floor or floating across in panoramic fashion. To sum it up, “Half a Sixpence” delivers and you won’t be disappointed.

August 7, 2008

Yo-Yo Ma Concert

Tanglewood, Lenox
August 3, 3008
by Debra Tinkham

The traffic from exit 2 west was bumper-to-bumper on this breezy, Sunday afternoon. It was a slow crawl all the way to Lenox, Tanglewood parking lots were filled to capacity, and “park where you can” instructions came from the valet attendants. Why? Yo-Yo Ma!

The program, unfortunately, started on time, because many admirers of Ma were late. Fortunately for viewers/listeners, Ma’s performance was second on the program, so not one note was missed. It’s uncanny how faithful Ma’s followers are, yet, he seems to continually give his all, knowing how pleased his audience is going to be.

It was, needless to say, an incredible afternoon, with music by composers Isaac Albeniz, Edouard Lalo and Sergei Rachmaninoff (1873 – 1943), but Lalo’s Cello Concerto in D minor most definitely was a show stealer. Special in many ways because Ma was performing this piece for the premiere performance at Tanglewood, and Carlos Miguel Prieto, conductor, was also making his Boston Symphony Orchestra’s debut. This young conductor had an immediate rapport with his players, then add Ma to the mix and you are “simply having a wonderful music time.”

The entire program consisted of Albeniz’s Suite from Iberia; Lalo’s Cello Concerto in D minor and Rachmaninoff’s Symphonic Dances, Opus 45. The Symphonic’s first Boston Symphony Orchestra’s performance was 1974, with the illustrious Seijji Ozawa conducting, and the first Tanglewood performance was not until 1991. This Rachmaninoff piece is one of his easier works to follow - melodically. Each movement flowed purely and with ease – not often a trademark of Rachmaninoff. To the untrained ear, it might even be misconstrued as “easy listening.” All in all, another magical day in the Berkshires.

August 4, 2008

Film Night

Tanglewood, Lenox
July 26, 2008
By Shera Cohen

For the past ten years, the Boston Pops Orchestra and maestro-extraordinaire John Williams have performed Film Night at Tanglewood. Yes, the July 4th concert as well as Tanglewood on Parade in August are huge events. With lesser fanfare, Film Night stands above those other evenings of music, particularly for anyone who has ever seen a movie composed by Williams. Let’s see…that means nearly everyone in the U.S., abroad, and probably on other planets. Williams has a special knack with extraterrestrial sounds.

The program’s first part began with a montage of movie music with every other piece a Williams’ theme. Whispers accompanied each number as the audience guessed the names of the movies. Once the screens descended for those in the Shed and outside, there was no need to wonder, except for the segment of “women in the movies.” Who was that star from the 1930s, for example.

While it was no secret (it was listed in the program book) that the entire second half was devoted to Indiana Jones, the special guests were huge surprises who received standing ovations: Kate Capshaw, Karen Allen, and Steven Spielberg. The latter narrated behind the scenes development of the Jones’ movies, including film clips without music. Williams’ creations were added, the clip repeated, and the crowd’s appreciation for the composer’s work was boisterous.

No, Harrison Ford was not at Tanglewood. But, isn’t it wonderful that Williams (just a composer!) and Spielberg (just a director!) are names as recognizable as Ford.

Williams shared his applause after each piece with his orchestra, making them stand. Let us not forget the Boston Pops. Without their talents, Williams’ work would have been silent. Indeed, he seemed like a humble man, unassuming by his skills and fame.

The only unfortunate part of the evening was a heavy storm immediately prior to the concert, perhaps keeping some listeners away. The stalwarts sat on soggy grass. Yet, even on a bleak day, Tanglewood’s grounds coupled with music from its venues make for one of the truly wonderful places in our country and in our culture.

August 3, 2008

3 Plays/1 Stage

Shakespeare & Co., Lenox
through August 31
By Shera Cohen

Add it up: 2 Shakespeare plays (one deadly serious and the other almost deadly comedy) + 1 by someone else + 3 skilled directors (Tina Packer, Kevin Coleman, Tony Simotes) + dozens of exceptional actors (among them are Shakes & Co. “old timers” Jason Asprey, Elizabeth Aspenlieder, Jonathan Croy, Michael Hammond, Annette Miller, Dennis Krausnick) = a fabulous summer season at Shakes & Co.

“Othello,” directed by Shakes & Co. alum, teacher, fight captain Tony Simotes, offers a triumvirate of talent. Simotes’ stages his actors in exactly the right positions with voices and demeanor to become their characters. John Douglas Thompson (Othello) shines as the tortured man, triumphant in battle on the field yet failing himself and those he loves. This is the perfect role for Thompson. Michael Hammond shows his audience every minutia of what makes his evil, conniving Iago tick. Hammond is not shy in his in-your-face performance, which is exactly what is called for in this role.

“All’s Well That Ends Well” might be called a musical, or at least that is the case with this version. Called “the house band,” nine actors accompany singer/interlocutor Nigel Gore regularly liven up the stage with original rock music composed by Shakes & Co.’s own Bill Barclay. The songs link the scenes together in this feminist and perhaps atypical Bard play.

Charles Morey’s “The Ladies Man” (based on the work of Geydeau) treats the audience to non-stop comedy in the shape of traditional French farce. In the course of the show, a total of 14 doors and entries permit the cast comings and goings at such rapid speed nearly faster than the eye can see. One can only imagine the bumping and bruising that occurs backstage. The extremely talented ensemble (many from last year’s successful “Rough Crossing”) must be having the time of their lives, which is certainly contagious to the audience.

Actually, there’s more at Shakes & Co., and it’s the free stuff; i.e. the very funny premiere of “The Mad Pirate and the Mermaid,” a terrific lecture series, pre-show mini-plays, and more.

3 Plays/1 Stage

Shakespeare & Co., Lenox
through August 31
By Shera Cohen

Add it up: 2 Shakespeare plays (one deadly serious and the other almost deadly comedy) + 1 by someone else + 3 skilled directors (Tina Packer, Kevin Coleman, Tony Simotes) + dozens of exceptional actors (among them are Shakes & Co. “old timers” Jason Asprey, Elizabeth Aspenlieder, Jonathan Croy, Michael Hammond, Annette Miller, Dennis Krausnick) = a fabulous summer season at Shakes & Co.

“Othello,” directed by Shakes & Co. alum, teacher, fight captain Tony Simotes, offers a triumvirate of talent. Simotes’ stages his actors in exactly the right positions with voices and demeanor to become their characters. John Douglas Thompson (Othello) shines as the tortured man, triumphant in battle on the field yet failing himself and those he loves. This is the perfect role for Thompson. Michael Hammond shows his audience every minutia of what makes his evil, conniving Iago tick. Hammond is not shy in his in-your-face performance, which is exactly what is called for in this role.

“All’s Well That Ends Well” might be called a musical, or at least that is the case with this version. Called “the house band,” nine actors accompany singer/interlocutor Nigel Gore regularly liven up the stage with original rock music composed by Shakes & Co.’s own Bill Barclay. The songs link the scenes together in this feminist and perhaps atypical Bard play.

Charles Morey’s “The Ladies Man” (based on the work of Geydeau) treats the audience to non-stop comedy in the shape of traditional French farce. In the course of the show, a total of 14 doors and entries permit the cast comings and goings at such rapid speed nearly faster than the eye can see. One can only imagine the bumping and bruising that occurs backstage. The extremely talented ensemble (many from last year’s successful “Rough Crossing”) must be having the time of their lives, which is certainly contagious to the audience.

Actually, there’s more at Shakes & Co., and it’s the free stuff; i.e. the very funny premiere of “The Mad Pirate and the Mermaid,” a terrific lecture series, pre-show mini-plays, and more.

August 2, 2008

A Man for All Seasons

Berkshire Theatre, Stockbridge
Through August 9
By Shera Cohen

It’s been several seasons since Eric Hill was last on stage. The opportunity to observe Hill’s portrayal as Sir Thomas More in “A Man for All Seasons” is one important reason to catch this play before it closes. Another is to watch the other actors, as this is a collection of thespian work at its best.

“Man” is based on the true story of More, of which there is much history. Set in the era of Henry VIII, is the battle of church and state over the divorce of the king’s first wife, Catherine. Equally, it is the conflict of conscience and convenience. The plot is far from black and white or right vs. wrong. The play could, indeed, be titled “A Man for all Days” or “Years” or “Centuries.” Beliefs and convictions of 1530 may as well be the same, with the same vehemence in 2008.

Richard Corley directs his cast in a series of chronological segments in the life of More, his family, and constituents. The thread linking each part is The Common Man, portrayed exceptionally well in multiple roles by Walter Hudson. David Chandler’s Cromwell plays sinister to perfection, Gareth Saxe’s Henry combines humor with determination in his king, and Diane Prusha evenly balances love and strength for and against her stubborn husband as More’s wife.

Hill is quite understated, except for a few short moments, as More. As a man of the cloth and of government, More’s professions pulled him in two directions, resulting in deadly consequences. Through Hill, we see the struggle of a man who willingly sheds both exterior garments to live solely by his own judgment.

The trappings of staging and costuming create 16th century England. Yet, actors do not feign British accents, and much of the playwright’s dialogue seems quite 20th century. Throughout, the play asks the question, “What is a man without principles and values?” Today’s audience members leave asking the same question of themselves.

August 1, 2008

Arsenic and Old Lace

New Century Theater, Northampton
through August 9, 2008
By Donna Bailey-Thompson

When a play has a convoluted plot propelled by laugh-out-loud dialog delivered by actors who know how to phrase for the desired effects and whose body language is in sync with whatever is transpiring, the audience is treated to a winner. New Century Theatre’s final production of this season, is the indefatigable "Arsenic and Old Lace." May it be revived forever!

What a combination of sounds signaled the audience’s enjoyment: giggles, titters, guffaws, belly laughs, and roars. Director Jack Neary has made sure nothing but first-class entertainment emanates from playwright Joseph Kesselring’s good-natured mayhem.

In 1939 Brooklyn, there lived in a charming Victorian house two maiden sisters of a certain age, whose sweetness was genuine. Their only defect was a misconception about the preferences of unmarried older men who had no family ties. These dear old girls’ lineage includes a flawed DNA belief such men are happier if their lives end – with the help of stoutly poisoned homemade elderberry wine. Their brother’s inheritance of the family affliction is the belief he is President Theodore Roosevelt. Their long-absent nephew, Jonathan, inherited the scariest version of the family’s mental aberrations: psychopathic killer. Their other nephew, Mortimer, a theater critic, who adores his aunts and they him, suffers the slings and arrows of any who are suspicious of theater people. During the space of only a few hours, he is exposed to startling truths: "Insanity runs in my family. In fact, it practically gallops!"

The casting is perfect. The spinsters, Margery Shaw’s Abby Brewster and Carol Lambert as Martha Brewster, are superb at fluttering or standing firm. Van Farrier is Teddy who frequently charges up the staircase (a stand-in for San Juan Hill) and disturbs neighbors with his bugle blasts. Phil Kilbourne’s Jonathan is mean as a snake and his sidekick, Dr. Einstein, played by Steve Brady, flashes a look of surprised comprehension that delights. Mortimer (David Mason) is urbane, befuddled, and in love with spunky Elaine (Sandra Blaney) who bears a strong resemblance to Priscilla Lane who played Elaine in the 1944 film version.

Arsenic and Old Lace is the antidote, at least for a few hours, to whatever may be driving you nuts.

The Dishwashers

Chester Theatre, Chester MA
through August 10, 2008
By Donna Bailey-Thompson

At various stages of physical growth, it is not uncommon for inquiring minds to ponder what life is all about, and specifically, does one have a choice between accepting or changing one’s lot? Honored Canadian playwright Morris Panych stages such a debate in the windowless basement of an upscale restaurant where rote activity prevails – dishwashing – both location and labor contrived to dull the mind.

Charles Corcoran’s set design drips with authenticity: an industrial-size sink, shelves filled with dishes and cooking utensils, boxes of supplies stacked to the ceiling, and a dumbwaiter that lowers the dirty dishes and raises the cleaned, gleaming plates – a metaphor for the existential parrying of thoughts and beliefs.

The opening dialog of the first act is reminiscent of Waiting for Godot with a dash of No Exit and a dollop of The Zoo Story. Eventually, a story line gels. Dressler (Tim Donoghue), long-time employee, the self-appointed captain of the dishwashing team, believes in trust, patience, and that there is honor in blooming where one is planted. Whereas the new guy, Emmett (Jay Stratton), introduces the disruptive idea of challenging the status quo: to organize, form a union. The third dishwasher Moss (John Shuman) is riddled with cancer, and is too ill to deduce that Emmett was hired as his replacement.

The introduction to the second act shows the dishwashing team operating at full throttle. As the arrival of dirty dishes’ containers gain speed, the pace increases for transforming them into clean plates. The result is Chaplinesque slapstick that entertains and informs.

The comedy is far removed from television sit-coms, although an exchange between Dressler and Emmett prompted the audience’s heartiest laugh: "I was nothing but a prisoner before I came here." Response: "In what sense?" Followed by: "Federal."

The Dishwashers is light fare if one doesn’t try to dissect the dialog but more interesting if one does. Due in part to the "aha!" moment created by the introduction to the second act, the play develops a clarity that elevates its entertainment value without sacrificing its messages. This play may not attract an enthusiastic following but all components of the production – especially the acting and Byam Stevens’ directing – are first-rate, thus contributing to the ongoing admiration of Chester Theatre Company.

Handel's Solomon

Berkshire Choral Festival, Sheffield
by Debra Tinkham

The Berkshire School, (a private high school with a student body of 375) nestled at the base of Black Rock, and know for its rattlesnakes, was the setting for the Berkshire Choral Festival’s (BCF) presentation of Georg Friedrich Handel’s pastoral “Solomon”. Completed in less than 40 days, this masterful, Handelian-like work of art went off flawlessly. The performance featured over 200 voices, all gathered for this group performance only six days prior, from 27 states, Canada and Tokyo.

A very cordial BCF Trustee, Wendy Linscott, explained the beginning and short history of the group, often referred to as the “Summer Camp For Singers,” saying that the season itself is only four (short) weeks, and the Springfield Symphony Orchestra (SSO) is the resident orchestra for BCF. In Handel’s case, the SSO was slightly abbreviated in size.

Guest conductor, Kent Tritle is one of America’s top choral conductors. Prior to BCF’s long time founder and conductor, Richard Westenburg’s untimely death, Tritle served as Associate Conductor and Co-Music Director. For the sake of brevity, “such a gentle job he did.”

"Solomon’s" story comes from the Bible, depicting King Solomon and the tumultuous relationship between him and the Queen of Sheba. In the final act, the chorus celebrates the Lord, “whose goodness and wisdom have been shown in Solomon’s realm.” Act III, Scene I, Solomon sings, “Thus rolling surges rise, and plough the troubled main; but soon the tempest dies, and all is calm again.”

The soloists were talented – phenomenal! Pages could be written about their voices, their talent, their finesse. Be sure to catch BCF’s final 2008 concert on August 2 featuring “Water Music from the British Isles,” with John Alexander conducting music of Vaughn Williams, Rutter and Granger.